Returning to San Francisco Opera is especially poignant for me. Although I had already sung some roles professionally beginning in 1972, my big debut was here on the stage of the Memorial Opera House on Sept 13, 1974 as the Maestro di Ballo to Leontyne Price's first Manon Lescaut. Back then there were no apprentice programs, Adler Fellows, or Merola. I was fortunate in that I had worked with Otto Guth, Kurt Adler's right-hand man, at Curtis Institute in Philadelphia where I was completing a post graduate opera degree. Through his recommendation I was invited to sing in San Francisco, where Mr. Adler offered me a number of wonderful roles.

This morning, August 31st, I am looking over my music with twenty or so "notes" from Francesca, her assistant Matthew, David Hanlon (assistant conductor) and our librettist, Donna Di Novelli. These notes are, of course, little things that can be changed to make the show better and better. It just takes a little brain power and a good deal of strong coffee to assimilate the suggestions; especially precious hours before an orchestral run-thru. [Left: Melody Moore and Thomas Hampson as Susan and Rick Rescorla in a recent working rehearsal. Photo by Cory Weaver.]

American Bass-Baritone Michael Sumuel has participated in our Merola Opera Program and even sang a Schwabacher Debut Recital last season, but Heart of a Soldier marks his official San Francisco Opera debut. In this opera, his primary role is Tom, an American soldier and medic who loses his life in the battle of X-Ray in Vietnam.

Opening night is drawing closer! I came into this process knowing that it would be just that-a process. It isn't often that you'll make an important debut with a company such as San Francisco Opera in a world premiere with the composer and librettist present and telling the true story of three remarkable human beings. It is an overwhelming task to concisely describe the process up to this point but I am incredibly grateful to be just one piece within a larger scope.

Posted: 09/01/2011 by
Michael Sumuel (Tom and Ted, Heart of a Soldier)

Heart of a Soldier is a compelling true story of two men who are the grit and grizzle of what we call American Heroes and I get to cover one of them: Dan Hill

This story is so amazing at all levels, and so close to the heart that it's hard not to get wrapped up in it. In this situation, the man is not only real, but he is alive, and will be here to see the production. One wants to be as accurate as possible when performing the life of another.

Thursday, 8/18/11—Meeting Susan Rescorla. I just got off the phone with Susan Rescorla and we're planning a little Sonoma getaway—just us two silly girls—for Labor Day. I've gotten to know Susan so well over the 8 months that have passed since we first met at our Heart of a Soldier workshop and press conference in December of last year. It has been an honor to get to know this woman who is a perfect balance of resilience and vulnerability. Our first meeting, at least on my part, was full of anticipation and a healthy dose of fear. I was so nervous with questions..."What will she be like?", "Will I be able to sing this in front of her without crying?" and "Will she appreciate the work and give her approval?" So many unknowns.

Introduction

Backstage at San Francisco Opera is a fascinating, fast-moving, mysterious and sacred space for the Company’s singers, musicians, dancers, technicians and production crews. Musical and staging rehearsals are on-going, scenery is loaded in and taken out, lighting cues are set, costumes and wigs are moved around and everything is made ready to receive the audience. From the principal singers, chorus and orchestra musicians to the creative teams for each opera, in addition to the many talented folks who don’t take a bow on stage, this blog offers unique insight, both thought-provoking and light-hearted, into the life backstage at San Francisco Opera.